TWIN PEAKS ALTERED UNIVERSE SEASON 3

by Remlap Arual

1 I'll see you again... 2 Full blossom... 3 Something horrible... 4 ...like a flower 5 ...like an animal 6 This cherry pie... 7 Mike and I... 8 Was Laura in it? 9 ...in trouble 10 ...beautiful dream... 11 It's me. It's me. 12 Who's Annie? 13 ...creamed corn? 14 Don't go there 15 I couldn't get my car started 16 Audrey, don't go in there! 17 Not if I see you first

14. Don't go there

(first edit)

TWIN PEAKS: EPISODE 14: "DON'T GO THERE."

S3:E14: TEASER

INT. GREAT NORTHERN - ROOM 315 - NIGHT (CGI)

A hand waves over Cooper, asleep and gnarled underneath his comforter, half of a glass of milk on his 'Josie' night stand. Cooper gasps awake. COOPER: "Is it future or is it past!" An eerie omnipresent amber light glows everywhere. Cooper feels to see if he has braids, but he is present Cooper, no braids. COOPER: "I will see my braids in my glass of milk." Cooper reaches for his milk. The Giant holds up his hand. GIANT: "No mirrors. I tell you these things, so that you will believe me." Cooper nods, calms. GIANT: "Your dreams are under attack. Nothing is as it seems." Cooper stares. GIANT: "You do not agree?" COOPER: "The owls are-" GIANT: "No. No owls. Better to seek Betty." COOPER: "How can I know if these dreams and visions are real?" GIANT: "Trust." COOPER: "Trust?" GIANT: "Before or after clues. Past or future. Before clues are guesses. After clues are facts. Write that in your diary, Cooper. The Log or the Eye." COOPER: "I'm beginning to understand, and I know I must not say what I understand." GIANT: "300 moons." COOPER: "25 years." GIANT: "Remember: This did not happen now. And remember: You are now free of the Black Lodge. 300 moons." The Giant waves his hand. Cooper not only disappears, but his bed looks unslept-in, the glass of milk gone.

EXT. WOODS - GLASTONBURY GROVE - STOCK AND NEW FOOTAGE - NIGHT (CGI)

As a crescent 'moon' of light dawns, the minutest sliver of moonlight splits across the coven of Laurapools as they vanish. Only the pool remains. HAWK: "What's it mean, Agent Cooper?" COOPER: "It is future. It is past." Cooper turns to Hawk, pats his shoulders, huge smile. COOPER: "Garland, Margaret, Sarah, Dale." HAWK: "The Four." COOPER: "Yes, Hawk." Cooper looks down. COOPER: "Something is very wrong..." HAWK: "...in the Palmer Family. The name in the darkness." COOPER: "The name hidden to all, except the FBI. But somehow you know, Hawk, don't you?" HAWK: "I only know there are many souls wandering. Both in this world, like Donna Hayward, and from the next, like Leland and Bob and Laura." COOPER: "But right now, Hawk, it is about to get strange." Wink. Cooper moves closer to Hawk, face to face. COOPER: "Tapes." Cooper winks. Hawk looks intently at Cooper. COOPER: "Do you see, Hawk?" Hawk leans in, even closer to Cooper, staring into Cooper's eyes. HAWK: "I see, Agent Cooper, but I do not understand." Cooper stares back at the pool. COOPER: "Do you see what I mean?" HAWK: "Yes, Agent Cooper. Now I understand, and know I must not say what I understand." Cooper beams. COOPER: "Yes, Hawk!" Cooper collects dust at edge of pool. Cooper unceremoniously heads back to the boat. Hawk gives a last glance to the pool, and follows. As they walk, we see a sparse night mist clinging to forest floor in patchy tufts. HAWK: "Agent Cooper, what did you mean by strange?" COOPER: "Sparkwood burns to ashes. The ashes are ashes of Ghostwood. Ashes of the Ghost." Cooper holds up vial of dust.

TWIN PEAKS THEME and OPENING SEQUENCE starring exclusively original Twin Peaks [sketchy glitch] & Fire Walk With Me & [sketchy glitch] Light Walk With Me cast members.

S3:E14: ACT ONE

INT. SHERIFF'S STATION - HARRY'S OFFICE - NIGHT

Albert's stands in front of Harry's chessboard in mid-game, Albert's face lit by a tablet he scrolls through. Albert shakes his head. Special Agent Roger Hardy looks sternly at Albert. We see Sam, uncharacteristically perspired. ALBERT: "Welcome back to 'Frankenpeaks,' Agent Hardy. While I'm glad you're not with Internal Affairs, the fact you are with Counter-Espionage gives me no solace." ROGER: "First off, Agent Stanley. How the hell do you mess up a DNA analysis so badly that the hair sample does not belong to our suspect, but an entirely different family?" SAM: "The sample must have been contaminated, or more likely, replaced or mislabeled." ROGER: "You realize that fact is exculpatory for the defense. In fact, we can withhold neither the fact that the test was botched, nor that it doesn't belong to Leonard Johnson, nor that it belongs to Subject A." SAM: "I had both samples quadrisected." ROGER: "Good, we have two more chances to botch it." SAM: "It might have been tampered with. I assumed the local facilities would be adequate..." ALBERT: "Primitives." ROGER: "And this collar, missing from the evidence room. Another 'tampering?'" Sam frowns. As Roger moves in front of Sam, we see the chessboard. ROGER: "And where the hell is Agent Cooper?'" The queens are fallen on their sides.

EXT. TWIN PEAKS STREETS & RIVERSIDE BOULEVARD - NIGHT

Through drifting fog, a man with helmet on a Harley passes Big Ed's Gas Farm, the 1929 Rolls, and Ed & Norma's house, new door, at 422 Riverside, and the mailbox with the address, recently tipped at an angle, the dirt fresh.

EXT. WOODS AND SPARKWOOD & 21 - NIGHT (CGI)

The intersection and 7 stop lights in the foreground, the hog pulls off road into the woods and a dirt trail. The hog disappears into the douglas firs. Further in the woods, through douglas fir needles obscuring our view, bejewelled in dew, the man pulls up on hog near James and Donna and James' bike in a clearing. Closer to the clearing. James holds Donna. JAMES: "I'm glad you came to your senses. We're not giving up on Laura." DONNA: "Even if Cooper fights us?" JAMES: "Even then." Cappy takes off his helmet as he approaches. CAPPY: "I don't know about this, James. Not telling Harry, or Joey. Joey's your partner. Bookhouse boys don't turn on their partner." JAMES: "I need someone to cover my back. Uncle Ed's out of town until tomorrow night. Joey's with Shelly now. Something's going down right here tonight." CAPPY: "I'm a deputy, I got to report what I got to report." JAMES: "Yeah, a man's got to do what a man's got to do. But, no um, malfeasance, officer." James grins. JAMES: "Nothing like that. ... Donna?" Donna steps forward. Donna's contorted left arm disappears in green fractal sprays as it reaches into ? Arm withdraws to normal, the three not seeing it disappear. CAPPY: "Okay...um. What's... Something wrong with your arm, Donna?" JAMES: "It's weird, Cappy. It's like weirder than weird. It's beyond the weirdest thing. It's like superweird or something."

EXT. SHERIFF'S STATION - LATER - NIGHT

Cooper moves toward front doors, donning his suit jacket. Cooper turns, breathes in, smiles. Turning back to doors, he enters.

INT. SHERIFF'S STATION - CONFERENCE ROOM - CONCURRENT

Lil monitors a laptop and silent live video of Int. Jail Cell. Cooper enters. Albert stands with arms crossed. ALBERT: "You just missed Agent Hardy." Cooper snaps his fingers. COOPER: "Internal Affairs!" Albert snaps his fingers. ALBERT: "Nope." LIL: "Shh!" As Albert is about to speak, Cooper holds up his salute, pointing to the monitor. COOPER: "We cannot legally record audio-" LIL: "Shh!" Lil's eyes concentrate on the lips of the incarcerated. COOPER: "Albert, I believe Catherine Martell to be influenced by the Black Lodge. I also believe Leo Johnson to be likewise. And Juliette Renault. Perhaps even Placide Renault. That is why I have chosen to put the Renault Man, Albert or 'Bear' Renault, in with them. Four friends inside the circle..." LIL: "Shh!" Lil begins reading lips. LIL: "Maman, you must not..." INTERCUT WITH JAIL CELL. JULIETTE: "...fight Agent C-c-c." LIL: "Maman, someone is trying to..." JULIETTE: "...h-hurt us." LIL: "Audrey is a good woman, she is not trying to..." JULIETTE: "...f-frame the Renaults." LIL: "You should never have trusted Bear to..." JULIETTE: "...s-s-stop this evil." Staying with JAIL CELL: Placide and Juliette look to Bear Renault. He stands from his bunk and shuffles side to side, his arms in an 'ocean wave.' FLASHBACK INT. TWIN PEAKS HIGH SCHOOL - THE PAST - DAY James passes Audrey, who caresses his arm as she passes. James approaches Donna, smiling. JAMES: "Have you seen Laura?" DONNA: "No, not yet." JAMES: "Nice day for a picnic." Donna smiles. DONNA: "Uh, yeah." James and Donna exit. Students walk by. At lockers, young 'Bear' Renault snaps his fingers, shuffles side to side, his arms in an 'ocean wave' as he exits dancing. Andy and Hawk pass in the far background. BACK TO JAIL CELL. Placide looks exasperated. PLACIDE: "The Dancing Man! Merde!"

INT. GREY LODGE - BLACK & WHITE (CGI verboten!)

Lighting strange. Four Black Lodge Chairs, facing each other. A single grey curtain, the width of the chair, behind each chair. Grey floor. Black veined white marble circular walls at the distance of a stadium, encrusted with wooden vines. Centenarian Cooper sits with the other centenarians: Waiter, and Placide. The fourth seat empty. Strange lightning. Cooper, Waiter and Placide all raise left hands and point at the fourth empty chair. ALL: "The One Legged Woman." Centenarian Audrey appears. In a sparkling gown made of ?, which under the strange lightning lighting seems at times to shimmer with light, sometimes black, sometimes wholly odd textures in textile greytones. Audrey's legs, revealed through the slit of the gown, are perfectly sinewy, perhaps a girl of eighteen's? The three lower their points. Centenarian Audrey smiles, bites her lip, fades away, leaving Cooper, Waiter, Placide.

EXT. SHERIFF'S STATION - AT BASEMENT WINDOW - NIGHT

The translucent light within hides a figure moving in a basement room. Our view is further occluded by a breath of passing mist.

INT. SHERIFF'S STATION - BASEMENT - SAM'S HUB - NIGHT

Sam's hub is a lab of strange equipment, microscopes, forensic stations, and computer screens. Outside the small window in the steel door we see the Sheriff's ordinance firing range. Sam talks to Gordon, on video. SAM: "Chief Cole, there are rumors in this town. Even about you and your ears, and that incident with S. Johnson, the waitress, 25 years ago." GORDON (VO): "Ridiculous, Sam. The Modified Cochlear implants are what improved my hearing. Tell the good Doctor that: although the practice of medicine is not an exact science, it is not a guessing game either." SAM: "Yes, sir." GORDON (VO): "Now the good news. Agent Roger Hardy." SAM: "Good news, sir?" GORDON (VO): "Bad news: Data, Cyber, Tech Ops, Lab, and International all have memos on my desk. Why do you think that is, Sam?" SAM: "Well, sir, do to the nature and complexity of the problem of Twin Peaks, and polyphasically thinking of all possible related interactions of those people, events, forensics, histories, and testimonies, I may have gotten giddy with my Information Requests." GORDON (VO): "You sound like a cross between a lawyer and a madman, Sam." SAM: "Yes sir, thank you sir." GORDON (VO): "Not really a complement, Sam. IR's aside, shall we speak plainly, Samuel?" Sam presses buttons. SAM: "Yes, Gordon, not a complement. And yes sir, I would enjoy that. To part with the conventions of the deductive process-" GORDON (VO): "Hush, Sam. Did you hear that?" SAM: "Line clear." GORDON (VO): "One hopes so, 12-13-14." SAM: "Go." GORDON (VO): "Too many owls, and now the worse news: tell Cooper, unless he can provide a certifiable result, in 3 days, he is to abandon this line of inquiry into the miracle cure and that fertility drug. End." SAM: "Stop." GORDON (VO): "Philly ain't no philly these days." SAM: "Agreed, Chief. And I'm sure Cooper would reply, (VO COOPER) 'Done and done, Gordon.'" Gordon smiles, presses a button and his image on the monitor 'strange pixelates' to blue screen with FBI logo.

EXT. ONE EYED JACKS & THE PEAKS - NIGHT

Guests enter the casino. Two security guards watch the docks and parking lot. Mist over the waters. In distant background, the telescope of Horne Observatory turns, flashes with reflection.

INT. ONE EYED JACKS - OBSERVATION BAY - NIGHT

Below the soundproof two-way mirrors, the casino is bustling. A tuxedo-suited African American man with greying dreads deals blackjack below. He looks up to windows. Nancy presses a button. We see on a monitor camera zooming to dealer below and name tag: 'Lawrence Jones.' We see on a monitor, a camera moving and zooming to INT. CASINO. On monitor, Daniel (between), Aurora (Green frosted blond), and Lela (Red frosted silver), gamble at slot machines, their faces blank and lost. BACK TO BAY. Nancy turns to the much younger Nicky. NANCY: "Nicky, I'm going to make Blackie proud. I'm going to make all the O'Reillys proud, and all the Renaults. Hell, I might even make the Hornes proud." NICKY: "And Maman and Sis?" NANCY: "We're in charge now." NICKY: "Maman told me she's dying and it don't matter. She and Papa have been in Twin Peaks for a hundred and three years, and it just don't matter anymore." NANCY: "Juliette has already leveraged One Eyed Jacks." NICKY: "Leveraged?" NANCY: "Judge Sid."

EXT. JACOBY BUNGALOW - NIGHT

The Hawaiian style dwelling is festooned in early spring flowers. The bungalow is dark, but the stone path to the door is lit by half a dozen tiki torches on each side. Smoke from the torches mixes with wisps of mist passing by. A light turns on in one of the rooms.

INT. JACOBY BUNGALOW - OFFICE - CONTINUOUS

Jacoby in floral print pajamas looks through a drawer. Near a roll of red yarn, he finds a pistol and puts it in a satchel. Inside the satchel: his secret split coconut, a fifth of vodka, paperwork and folders. One folder opens as he inserts the pistol. To a picture of Laura Palmer, age 17. Golf balls and a Hawaiian totem carving at bottom of satchel. Jacoby checks his cell phone. EOLANI (VO): "Lar? Come back to bed." Jacoby removes another cell phone and places it with gun. JACOBY: "Just a minute, my love, my love, my island queen, my love."

EXT. TWIN PEAKS - THE PEAKS - LATER - DAWN - ESTABLISHING (CGI)

A fog has entered Twin peaks, and the peaks rise above it in the far distance. Traveling supersonic over the mist, straight up the mountain to Horne Observatory. Outside, rather than a lonely remote installation, instead, cars and tourists exit the busy establishment. We see the commemoration plaque, reading: 'HORNE OBSERVATORY' 'We place you among the stars.' As we turn from the Observatory, the only two buildings visible above the fog are the tip of the Penthouse of the Great Northern, and on a far opposing hill, the Asylum.

INT. TWIN PEAKS ASYLUM - DAWN

Annie and Cooper and Gerard sit in the dayroom. All have smiles, Gerard a strange sheepish curl. COOPER: "Who is the One Legged Woman?" GERARD: "Who is the One Armed Man?" Cooper turns to Annie. Gerard grins surly. ANNIE: "He can't answer right now, they just gave him his shot." COOPER: "Haloperidol. Fair enough. Annie, who is the One Legged Woman?" Annie pats Gerard's hand. He seems to calm. ANNIE: "It's okay, Phillip, we know this is difficult for you, but you must try." Annie turns to Cooper. ANNIE: "If I told you that the Log Lady does not exist, you would not believe me. But if I told you that the Man inside the Log does not exist, you might believe me." COOPER: "Annie, what are you saying?" ANNIE: "The One Armed Man is the Man trapped inside the Man. The One Legged Woman is-" Cooper raises his salute as he sees Jacoby enter with satchel. Jacoby checks in at counter. He turns and shaka waves 'hello' to Cooper et al. As he makes his way over, Annie shakes her head violently 'no!' Jacoby turns on his heel, and heads down corridor to Johnny's room. Gerard snickers. Cooper turns to Annie. ANNIE: "The One Legged Woman is the vision trapped inside the moment." Audrey enters, goes to counter, rushed and slightly perspired. She wears a teal business suit. Audrey flutters her fingers showing she has no rings. She checks herself in a hand mirror, noticing Cooper in reflection. Audrey beams, twirls, and shoes away the nurse as she strides to Cooper. Cooper stands, smiles. COOPER: "Miss Horne." Audrey glares at Annie for a brief moment. AUDREY: "Why, I had no idea you would be here, Agent Cooper! Can we talk later?" GERARD: "A penny for a cotton ball, a penny for a needle, that's the way the money is spent, pop! goes the weasel." Cooper almost smiles. Audrey awkwardly smiles. COOPER: "That may not be possible, Audrey." Audrey leans in, whispers. AUDREY: "Then I'll wait for you tonight." Audrey exits to Johnny's room.

JOHNNY'S ROOM - CONCURRENT

Johnny sits quietly on his bed. He stares across the white room to cabinet with his possessions, including the Native American headdress, locked under a chainlink grid and bars. Johnny's long hair is moosed into a makeshift headress. He bobs back and forth. On his bed are pictures and representations of entirely black new moons. Jacoby moves two golf balls, one in front of the other, simulating a makeshift eclipse in front of the bright morning light of the window. Outside the window, fog occludes the lower environs of Twin Peaks. Audrey enters. Jacoby pockets the golf balls. AUDREY: "Johnny!" Johnny uncharacteristically turns toward Audrey. Jacoby notices. AUDREY: "Doctor Jacoby." Audrey sits next to Johnny, carefully setting Johnny's pictures in his lap. AUDREY: "I hope you can hear me, Johnny. You're coming home! It's temporary, and Mom and Dad can't wait to see you, too. We want you to be there, because your other sister is getting married!" JOHNNY: "Lau-ra?" Audrey smiles, plays with Johnny's hair. AUDREY: "Yes, Johnny, Donna is getting married." JOHNNY: "Laura." JACOBY: "I was mystified why Johnny wanted me to be here today. His release! New moon! A wedding! Of course! Hallelujah!" Jacoby skirts up to and sits right next to Audrey, arm around her shoulder. JACOBY: "You see, Audrey, family imprinting. Johnny was trying to tell me how excited he is to go home." Johnny war-whoops. AUDREY: "Family fun time?" JACOBY: "Wouldn't miss it." AUDREY: "I will be doubling your retainer, Doctor." JACOBY: "You know that's not what I want." Audrey sighs, opens her portfolio, and hands Jacoby a picture of Laura. JACOBY: "Are you sure this is the original!?" Jacoby sniffs the photo. AUDREY: "The original photo Laura gave Daddy. He doesn't deserve it either." Johnny touches Laura's face. Audrey stands as Jacoby puts the picture carefully in his satchel. AUDREY: "Get Johnny ready." JOHNNY: "Laura..."

DAYROOM - CONTINUOUS

Cooper returns from a drink station with two cups of coffee for Gerard and Annie. COOPER: "Phillip Michael Gerard, thank you for agreeing to help us to conduct an experiment." GERARD: "I always want to be helpful, Agent Cooper, but sometimes I'm just not myself." ANNIE: "The Good Cooper is not in the Black Lodge, the Evil Cooper is in the diary now." COOPER: "What does that mean, Annie." Annie drops her head. A tear rolls down her cheek. Cooper holds her hands. GERARD: "Sister, are you okay?" COOPER: "Annie?" In background, Audrey exits hallway to see their hands embracing. She sighs and exits. ANNIE: "The ring of owls." GERARD (parroting a myna bird): "The ring of owls." Gerard squawks.

EXT. WOODS NEAR EASTER PARK - MORNING - LATER (CGI)

The douglas firs undulate in the fog under the sun. The fog causes strange and fleeting images of overlapping branches beneath fog brushstrokes and glinting morning sun, splashed in odd spectra.

EXT. EASTER PARK - DOCKS & GAZEBO - MORNING - CONTINUOUS

On the docks next to the lake, Cooper stands with Andy, Lucy, and Hawk, all in civies. Hawk has Waldo, tied with jesses, perched on his blue-gloved hand. COOPER: "Thirteen is not unlucky in Tibetan culture. Quite the opposite. 25 years ago, I employed a similar method to discover that Leo Johnson was integral on the night Laura Palmer was murdered. I utilized the zen of the stone. You were there, Lucy. Andy, you were hit in the head. Hawk, you held the stones. Harry, your mind was opening to new methodology. Albert was not there. I intend to open your mind, Harry. All things are related. The mystery of Josie will be solved tonight." Hawk watches Cooper turn his ring with thumb. HAWK: "I am the guide." ANDY: "Who am I, Agent Cooper?" COOPER: "Andy, you're the watchman. Watch for owls." Andy stands proud, Lucy entranced in Andy. LUCY: "And me?" COOPER: "Lucy, you are the key." LUCY: "I'm the key?" COOPER: "You will determine if Waldo is being naughty or nice." LUCY: "That's easy." HARRY: "I hate to ask..." COOPER: "Harry, you are not fully here right now." HAWK: "Dreamquesting." Cooper beams. COOPER: "Yes, Hawk! The dreamquester. Or the dreamquestion." HARRY: "Coop, if all this will help, I'll go along. What's this question?" COOPER: "Just as 25 years ago, there is no question. There is only Waldo." HARRY: "How's this supposed to work?" SHOW PHOTOS of: COOPER: "I have placed photos of over 100 people on the ground, in grids of 13. Characteristic of common myna birds, Lucy, you will record each time Waldo bobs his head, the number of bobs, and the picture or open space he bobs on. Harry, you will listen for Waldo to speak. I have used a stone to represent the center of the circle, and placed a small portion of dust under the rock, for reasons I cannot specify." Hawk nods. COOPER: "Hawk, place the blinders on Waldo, remove his jesses, and place him on the rock at the center of the circle of photos." HARRY: "And this is supposed to help me sleep?" COOPER: "Yes, Harry." Hawk places Waldo on rock. Waldo jumps down, and moves toward mist-dappled portraits, aligned on the ground. Pictures [with FBI labels in brackets]: Wolchezk, Windom, Will, Waldo, Waiter/Jerard, Tremond (sketch), Toad, Thomas, Theresa, Sylvia, Judge Sid, Doctor Shelvy, Shelly, Scotty, Sarah, Sam, Roundtree, Ronette, Roger, Robby, Raven, Placide, [Timothy Edward Pinkle] Pinkle, Phillip, Peter, Pete, Norma, Nicky, Neff, Nancy, Nadine, Monkey, Mike, Man from Another Place (sketch), Maddy, [Midge Theresa Jones], Lucy, Log Lady, Lil, Leo, Leland, Lela, Laura, [Greyson Odysseus Lanterman] (Lantern Man), Lana, [Lawrence Martell Jones], Juliette, Julie, Judy, Josie, Johnny, Joey, Jerry, Jean, James, Jacques, Jacoby, Jackson, Jack, [Margaret Lilibeth Honeycutt], Heidi, Heba, Hawk, Harry, Harriet, Harold, Hank, Grandson/Magician (sketch), Gordon, Giant (sketch), Gersten, Gerard, Garland, Eolani, Eileen, Ed, Dweller on the Threshold (sketch), Donna, Diane, Denise, Daniel, Dale, [Clifford Anthony Howard], Chester, Catherine, Cat, Caroline, Carl, Cappy, Brocklehurst, Bobby, Bob (sketch), Blackie, Betty, Beth, Bernard, Ben, Bear, Aurora, Audrey, Annie, Laura's Angel (sketch), Andy, Andrew, Albert, [Abigail Zarabeth Brennan] Abby. MONTAGE. Lucy recording on tablet, Andy staring to trees, Hawk going to Gazebo, Cooper and Lucy following Waldo. And three bobs to Josie. Three bobs to Harry. Three bobs to Log Lady. And three bobs to Abby. All gather around Lucy and Andy with questioning looks. END MONTAGE. LUCY: "Don't look at us, he's the birdbrain." ANDY: "Agent Cooper, Agent Cooper! Abby is coming home next week for spring break!" COOPER: "Lucy, now think carefully, is Waldo being naughty or nice?" LUCY: "I don't want Abby mixed up in this! I hate you, Waldo! Mean. Very, very mean! I meant naughty, Agent Cooper. Come along, Chief Brennan." Andy and Lucy gather Waldo and exit. Harry approaches Cooper as all collect photos, Harry stopping on an old photo of Josie. HARRY: "Coop, Hawk, I think I know what it means." Hawk nods. COOPER: "Really, Harry!?" HARRY: "I'm trapped inside the Log. Margaret's Log. I'm there right now. With Pete Martell and Josie and the Log Lady's husband, Greyson Lanterman." All stare at Harry. Harry's glassy eyes stare into the woods. WALDO: "Naughty Agent Cooper."

FAR SIDE OF PARK

With the Gazebo and Harry, Cooper, Hawk in background. Donna carries a picnic basket and James carries a small cooler. DONNA: "Didn't you tell me once your Dad died when you were..." JAMES: "When I was 10. Don't you remember, I told you later I lied. Sh*t! That's Agent Cooper! Why are they picking up trash?" DONNA: "Those are pictures." JAMES: "Weird." DONNA: "Let's go to the falls instead." JAMES: "I thought you wanted to practice our vows in the gazebo." DONNA: "I'd rather practice something else." Donna pulls James into a kiss. James grins. James kisses her deep.

S3:E14: ACT TWO

EXT. TWIN PEAKS TOWN HALL - LATER - DAY

On the double doors, a notice reading: 'Court in session, no admittance. Use Fire Station or Administration entrances.' The paper rustles in the wind of a drifting fogling.

INT. TWIN PEAKS TOWN HALL - REDRESSED AS COURT - CONTINUOUS

Bobby, in uniform, stands next to prisoners as they enter. In orange prison jumpsuits, reading 'TPSD Prisoner' and on their backs, 'KEEP TWIN PEAKS CLEAN' are assembled: Catherine (looking at her nails), Leo (glaring at Cooper), Bear (looking around), Juliette (weeping), Placide (resolute). We see a Bailiff, whose name tag reads: 'Martha Grimes' 'Bailiff.' MARTHA: "Hear ye, hear ye. Please rise for the Honorable Judge Sidney Sidney, County Magistrate for the Town and County of Twin Peaks, Washington. All matters before this court shall be heard. This court is now in session." Judge Sid enters from rear door. Her hair in Native American braided bun and beadwork hair clasp. She approaches the long table used as her bench, smiles, sits, pounds gavel. Audience sits. MARTHA: "First case: Albert Renault, bail hearing, possession of unlicensed firearm." Lana stands. LANA: "Lana Milford for the defense, your honor. Mr. Renault's first offense. Mr. Renault has agreed to testify against his grandmother, in exchange for a lesser charge, which the Government has yet to agree to, in exchange for bail lenience." JUDGE SID: "Prosecution?" ALBERT: "No objection." JUDGE SID: "Bail set at 100,000 dollars. I'm not about to agree to something up in the air." Gasps in audience. Gavel pounds. Bear is taken out of court. FADE TO: MARTHA: "Next case: Nadine Nelson, competency hearing, Murder in third degree." LANA: "Defer to expert opinion, your honor?" JUDGE SID: "Granted." JACOBY: "Doctor Lawrence Jacoby, psychiatrist, your Honor. Listen, Nadine Nelson is in a coma, and was institutionalized for numerous mental disorders, and most importantly, has not undergone current examination on the question of her mental state. I mean, who really knows." JUDGE SID: "Prosecution?" HARRY: "Judge Sid. Sheriff Harry S. Truman. We want to forgo the competency hearing in favor of immediately declaring Nadine incompetent to stand trial." JUDGE SID: "What say you, Doctor Hayward?" Doc Hayward, in audience, is surprised he is called forward. He takes a position next to Jacoby, uncomfortably. DOC HAYWARD: "Your Honor, I don't see the point in trying or testing Nadine. What she needs is care or a cure. I doubt she would understand, even if she woke up." We see Mike in audience at times almost angry, but watery eyed and stonefaced. Bobby notices Mike. JUDGE SID: "I'm ordering a stay of prosecution on suspect Nelson's Murder of Beatrice Roundtree until such time as she can be tested for competency." Gavel pounds. FADE TO: MARTHA: "Next case, Juliette Renault, bail hearing, conspiracy in and desecration of the grave of Laura Palmer." Juliette weeps among the prisoners, her face downcast and dripping. JERRY: "Gerald Horne for the defense, Your Honor. Juliette didn't do this, everyone knows that. She loves Laura. We all do. Her car was stolen, dumped in the lake with planted evidence, none of which points to my client." ALBERT: "Request electronic monitor, your honor." JUDGE SID: "This is serious business. Bail set at 250,000 dollars." Gavel pounds. FADE TO: MARTHA: "Next case, Placide Renault, bail hearing, possession of unlicensed and illegal weapons, trafficking, distribution of said firearms." JERRY: "Judge Sid, she's one hundred and three years old. Just trying to protect her family from all these bad bad things going on in lower Twin Peaks." ALBERT: "Request remand." JUDGE SID: "Prisoner will not be remanded. Bail set at one million dollars." Gavel pounds. FADE TO: MARTHA: "Next case: Leo Johnson, parole violation." Tim Pinkle shuffles papers and steps forward. PINKLE: "Tim Pinkle for the Defense, Your Honor. This is clearly a delay tactic by the FBI, who are withholding charges on Mr. Johnson until they can fix their lousy case. Juliette and Leo are both accused of graverobbing. If her bail is 100,000, so should his." COOPER: "Special Agent Dale Cooper, Your Honor. The State of Washington violations demand that Leonard Johnson not see the light of day. His criminal history is legendary. We request remand." JUDGE SID: "Prisoner is remanded to Twin Peaks Sheriff's Department for incarceration. No bail." Gavel pounds. FADE TO: MARTHA: "Next case: Catherine Martell, possession of Government property." NEFF: "Walter Neff, Chief Counsel, Your Honor. As a pillar of Twin Peaks, my client should be-" Gavel pounds. JUDGE SID: "Keep it short, Mr. Neff." NEFF: "Yes, Your Honor. Simple Misdemeanor, time served." JUDGE SID: "No, Mr. Neff. Your client was in possession of top secret Air Force Technology, used in the aforementioned Roundtree third degree murder charge." NEFF: "Request bail." JUDGE SID: "Owing to the extraordinary change of venue by the Air Force, I'm going to set bail at 348,000 dollars, the maximum I can impose, electronic monitoring, and a restraining order against Catherine Martell, forbidding entry to any of her properties until such time as the FBI warrants completion of its investigation. Where is a Major Garland Briggs?" Garland stands in audience. GARLAND: "Major Garland Briggs, United States Air Force Active Duty." JUDGE SID: "Approach." Garland walks to bench. Judge Sid covers microphone, and leans in. Garland leans in. JUDGE SID (whispered): "Major, I hope this little maneuver of the Air Force garners results, because I am not disposed to playing musical chairs with venue." GARLAND (low): "Yes, your Honor. The crimes occurred in Twin Peaks. The Air Force is convinced that a trial set here best serves the Government and people of Washington." JUDGE SID: "So stipulated. You are excused." Garland walks back to audience. JUDGE SID: "Mr. Neff?" NEFF: "No objection." Gavel pounds.

EXT. TWIN PEAKS HIGH SCHOOL - STADIUM AND GREENS - LATER - ESTABLISHING - NIGHT

Mist clings to the wet football field. We see the tall windows of the High School gymnasium, lowly lit, fading from one tone to another . In the center of the field, a helicopter sits silent. The logo on the craft: 'HORNE INDUSTRIES.'

INT. TWIN PEAKS HIGH SCHOOL - GYMNASIUM - NIGHT

Bleachers dark, the only lighting that illuminates long tables is the gymnasium's huge flatscreen, showing high school pictures of Laura fading from one to another. At the tables: Bobby in uniform, Audrey, Mike, Martha, Bear in jail jumpsuit, Lana, Joey, Ronette. Audrey's pilot stands near exit. James and Donna, alone, sitting in bleachers. JAMES: "Shelly's not here." DONNA: "She didn't graduate with us anyway." JAMES: "Her G.E.D. was the same year..." DONNA: "What are you looking at?" JAMES: "Joey ain't starting the meeting." DONNA: "So?" JAMES: "We don't have a lot of time before we see Jacoby. I shouldn't be here anyway. I got to finish work on that Phantom, or Martellcorps will expect a 'deduction' or 'deletion' or whatever Uncle Ed calls it. I knew this contract was going to be a headache. The Hornes were much more pleasant. One Horne in particular." James smiles and gives Donna a peck. She grins. DONNA: "I'm not a Horne, silly billy." JAMES: "You know what I mean." The two turn to Bobby and Joey, as: BOBBY: "No, f*ck you, Chief!" JOEY: "F*ck you." RONETTE: "Boys! Boys! Boys! Stop it! Our entire class is depend-" BOBBY: "That's what Shelly wants, pal!" JOEY: "F*ck this noise! Shelly ain't here, Shelly ain't got a vote!" JAMES: "What the hell is going on?" DONNA: "I don't know." James and Donna join the others at the table. JOEY: "Don't you say a f*cking thing, Hurley!" AUDREY: "Can we just vote so I can get out of here?" MIKE: "Yeah, I got to get to work." MARTHA: "Listen, Robert, the rules are no proxies. That is final. We are going to start voting." Martha records votes on tablet. MARTHA: "If the Double R will not provide the catering, we need to pick another caterer. All in favor of the Great Northern providing catering instead of the Double R, signal with a Yea, all opposed, Nay: Briggs." BOBBY: "Yea." MARTHA: "Grimes. Nay. Hayward." DONNA: "Yea." MARTHA: "Horne." AUDREY: "Yea, already." MARTHA: "Hurley?" JAMES: "Nay." Donna glares at James. MARTHA: "Milford?" LANA: "Nay." MARTHA: "Nelson?" MIKE: "Yea." MARTHA: "Paulson?" JOEY: "Nay!" MARTHA: "Pulaski?" RONETTE: "Laura loved the Double R, Nay." MARTHA: "Renault?" BEAR: "Yepperdoodle." Martha rolls her eyes. BOBBY: "You lose, pal." Joey flips off Bobby. MARTHA: "Bobby, the vote is 5 to 5, if Shelly wants to change it, she'll have to come to the next meeting." Joey storms out. Mike whispers in Bobby's ear: MIKE: "Trouble in paradise." Mike exits with a strange leer at Donna. Audrey adjusts her lipstick with a wand, waving to her pilot in background. RONETTE (to Audrey): "How do you stay so beautiful?" AUDREY: "Hopes and smiles." Audrey stands, her pilot immediately moves forward to carry her umbrella and portfolio, placing a red cloak over her black evening gown. AUDREY: "None of us know what Laura would have wanted in a high school reunion. But one thing's for certain, she would have wanted us to celebrate the good things in her life, not all this 5 to 6 vote sh*t. If we can't agree, we are just perpetuating the darkness that took her." Bobby is wide-eyed, almost watery-eyed. Audrey turns to Bobby, and strokes his face. Wider eyed. AUDREY: "Now, Bobby Briggs, don't you go soft on me." Bobby nods, speechless. Audrey exits. Donna whispers to James. DONNA: "What's wrong with him?" As James doesn't answer her, she turns to him, to see him pained also, staring at Laura on screen. Donna strains to understand. DONNA: "James..." Bear pretends to be emotional, rubs dry tears from his face with hand-cuffed fists, sniffles, grins. Bobby forcibly stands Bear to his feet. BOBBY: "Okay, you. Good thing Harry let you out for this, good thing you voted 'yea,' but now, Bear, my pal, it's Leo time!" Bear loses his grin.

EXT. 'LOCKED GABLE' CONVENIENCE STORE - NIGHT

On a wooded long avenue, the store seems lone with no other buildings in sight. A bedraggled strange store with a high two-storied gabled facade is a drive-through only liquor and convenience store. Through its barred and two-way mirrored encased window, two video screens display specials.

CUT TO BLACK

Strange pixelation into caption, 'PINK SWEAT PRESENTS'

EXT. NEIGHBORHOOD NEAR PALMER HOUSE - NIGHT

We approach the Palmer house on cell phone footage. FLASH to another angle on Palmer House from across street, through windows of opposing home to Palmer House. Caption 'Your neighborhood Watch:' then 'Together, we accomplish everything.' FLASH to cell phone footage from inside Palmer House. Angle turns to Sarah's selfie footage. SARAH: "Turn your cell phones into your security guards. Your Neighborhood Watch. More eyes than you can imagine! Pfft! If I had a nickle for every eye, why, I'd buy me a chandelier!" FLASH to actual security camera angle from Palmer House front door - night. Caption 'Neighborhood Watch #7, directly linked to a dozen nearby Watches. Join us. Keep Twin Peaks Clean.' SARAH (VO): "And I guess you can watch that Pink Sweat to see how it all works, everywhere, all at once."

EXT. CALHOUN MEMORIAL HOSPITAL - EMERGENCY ENTRANCE - LATER - NIGHT

A flashing TPAS ambulance screeches to a halt. Mike exits and rushes to back of ambulance as other personnel exit hospital. Far above, we see a window lit in office section. A shadow in the room passes back and forth.

INT. CALHOUN MEMORIAL HOSPITAL - JACOBY'S OFFICE - NIGHT

Doctor Jacoby paces back and forth, in 'island getaway' furnishings. He compares Heidi's and Nadine's and Ben's cranial MRI results on a monitor. He frowns and turns it off. Jacoby checks his watch, a digital display with a hula girl waving her arms at 10 and 12: 10 o'clock. A tiny coconut revolves around the hour displays with seconds ticking. He places some paperwork in his satchel. JACOBY: "Kookamunga!" Jacoby exits, switching off lights.

EXT. CALHOUN MEMORIAL HOSPITAL - CONCURRENT (CGI)

Far away from the hospital, we see the tiny light go out. Our view pans down the hospital, over its grounds, panning past streets until it points straight down to Easter Park and the gazebo. Our view rotates. The Gazebo spins. Scene still spinning, the gazebo impossibly stops.

EXTS. TWIN PEAKS - MONTAGE STILLS - TRAVELING - NIGHT

As if photographs are being taken. Flash bulb. Inside the gazebo. Flash bulb. Edge of Easter Park. Flash bulb. Easter Park docks. Flash bulb. Lake at Easter Park. Flash bulb. Tributary to lake. Flash bulb. Lower waterfall crashing. Flash bulb. Top of falls cascading. Flash bulb. Docks at Great Northern. Flash bulb. Great Northern window to banquet hall.

INT. GREAT NORTHERN - BEN'S OFFICE - NIGHT

Ben's desk is covered with files. No less than 6 laptops open. One displays Ext. Great Northern Helipad. No Helicopter, the red landing lights of the helipad blink. Blinkity blink blink. Blink. We do not see the other laptop screens. Ben sits at his desk, proud of what he sees, his lit cigar at full mast. Jerry squints at some of the screens. BEN: "Video, Jer." JERRY: "Video, Ben. Ben? What are we doing?" BEN: "I'm surprised at you, General. Why, we're waiting out the storm." JERRY: "Canada, Ben?" BEN: "Friends, Jer, Friends. Two friends are better than one." JERRY: "Ben, I think we're in trouble." BEN: "Why's that, Jer?" JERRY: "Office, Ben." BEN: "Office, Jerry."

BEN'S SECRET OFFICE - MOMENTS LATER

Dark room. Door to Secret Office opens. Light floods in. The silhouettes of Ben and Jerry in the doorway. An inch sized slightest red laser passes over all four of their eyes. Room lights up showing civil war memorabilia moved to the side in favor of an architect's model of a 12 sided black obelisk. Ben walks to obelisk, about as tall as Ben, smiling and puffing away. Jerry is fumbling with something in his pocket as he walks, not noticing Ben. JERRY: "I must have left the vichyssoise in my other pocket!" Jerry pulls out a joint, sparks a puff. JERRY: "Ben, what's going on? The FBI wants to know the origin of that Black & White Laurite video, you know, with the dancers around the tree, in plastic, Ben, and white f*cking sheets, Ben!?" BEN: "Jerry, why can't we have horses around the tower?" JERRY: "I asked you first." BEN: "We are cooperating, Jerry. The FBI will receive the film and interpret its own answer. An old enemy once taught us both about the value of two sets of books. Now, imagine, Jerry, perhaps an infinite number of books. Possibilities. You know where it came from. I know where it came from. No one else in Pink Sweat knows. Therefore, the FBI will uncover its origin." JERRY: "Wake up, Ben! They want to know why, in this particular instance, why Pink Sweat seems to be encouraging quote unquote the desecration of Laura Palmer's memory. And those f*cking Montana Palmers! It makes it look like one, we were already guilty before her grave was robbed. And two, that we may have done it to boost Pink Sweat traffic. That's what Catherine's already claiming." BEN: "Hmm." Jerry takes another hit. Ben is now chewing on his cigar. JERRY: "Oh, and to answer your question, money. Money, Ben, money. We are in some serious trouble here. The Observatory is barely above water. Catherine has seen to it that Horne's Department Store will be sinking within a year, I'm sure the Renaults will be instrumental in flooding One Eyed Jacks with every injunction under the sun, oh, and the Sarah Palmer settlement will continue, now flowing to the foundation, now in perpetuity. That leaves us Pink Sweat, Green Horne, Hornes of Fire, and the Great Northern, Ben. Queen of the Hive and the Queen of Hives?" BEN: "Starring the Voice Over talents of ... Jerry, it doesn't matter." JERRY: "Until we're running from the Mounties." BEN: "A horse, twelve horses, my kingdom for twelve horses."

FADE TO BLACK

In the blackness, Captions, scrolling, in spectacularly refracting dark galactic mirrors: TWIN PEAKS incident...' 'WINK TAPES searching...' 'PINK SWEAT archive...' 'HORNE OBSERVATORY accessed...' 'AIR FORCE crosslink...' 'PROJECT SAPPHIRE enabled...' 'PROTOCOL 12-13-14'

INT. SAM'S HUB - NIGHT

Entire scene edging into bluetone, gradually getting bluer until entire scene is bluetone. Helicopter sound barely audible in background. Cooper looks at 'DNA Analysis' report. COOPER: "Yes, Sam, Doctor Hayward said the hair on Leland's side of the family changes color under stress. Leland's hair turning white, Madeleine Ferguson's hair differing from Laura's, who we now know to be her identical twin. Incredulous. But the wholesale change of DNA in our sample? Impossible, Sam." Helicopter louder. SAM: "Well, you heard Gordon. This change seems like another one of these bizarre miracles." COOPER: "Miracles are performed for good. This is obfuscation. This is deceit. This has the tincture of evil." SAM: "Both samples are identified." COOPER: "Who?" SAM: "By the mitochondrial DNA, it can only belong to..." SAM dons a Protocol 12-13-14 silver envelope, which seals around his head. Cooper likewise. POV COOPER. We see the silver-headed Sam clicking on a computer. SAM(VO): "Robert B. Palmer, paternal grandfather of Leland and Daniel Palmer." END POV. Cooper drags the envelope off, his normally immaculate hair disheveled and wonky. Cooper stares into the strange equipment of Sam's Hub, unbelieving. Sam removes his envelope, not noticing Cooper's blankness as Sam dons his trench coat and loads his briefcase: SAM: "On a side note. The batteries in your recorder, Agent Cooper, the one with you all those years in the Black Lodge, test as indeed 25 years old. Consistent with brand of said era. But still hold a charge. Even now. Scientifically impossible, without exposure or tampering, or somehow recharging, though these are not, repeat, not rechargeable batteries. Just something to think about. Goodnight, Agent Cooper. Please don't forget to seal the Hub." Sam exits. COOPER (to no one): "Engage protocol, Cooper 12." Monitors begin to shut off, lighting dims. Cooper stands tall in the dark bluetone room.

INT. EON - CONTINUOUS (CGI)

Entire scene edging from bluetone, gradually gaining full color until entire scene is normal. Garland stands in front of a man-sized video screen, 4 by 7 feet tall, looking like a mirror, showing Garland in his Major General uniform, attaching a new ribbon to his ribbon cluster. Garland regards himself, an approving small smile. Garland winces in pain. GARLAND (to no one): "Unusual." Garland exhales, and turns to the Monkey, strapped in peculiar medical chair. He moves to monkey, uncaps a syringe and injects the contents into an IV push. Monkey looks around. GARLAND: "No, he's not here yet." Garland turns back to screen. GARLAND (to screen): "Fractal encryption, link to Agent Dale Cooper." The large screen now shows a image of Cooper (INT. SAM'S dark HUB), standing tall. GARLAND: "He's ready, Agent Cooper." COOPER (VO): "Go ahead, Major." GARLAND: "By my calculations, he-" MONKEY: "Judy. Judy. Judy." COOPER (VO): "Fascinating! Just like Waldo. Major, is this just a performing monkey, or do you have concrete and empirical data as to its cause?" GARLAND: "Betty has coordinated files from the Lydecker clinic. There seems to be spikes in animal injuries before or after strange events in Twin Peaks." COOPER: "That is not concrete, Major." GARLAND: "Yes, sir, point taken. Science is not exact. However, Agent Cooper, before the attempt on J. Swain's life, our friend here only said that word once. Now, our friend only says the word three times. Always three times. Like the messages." Cooper seems distracted. COOPER: "Yes. Cooper, Cooper, Cooper, Laura, Laura, Laura." MONKEY: "Judy, Judy, Judy." COOPER: "Do you believe it to be the fourth message?" Garland smiles. GARLAND: "No sir, we have not received the fourth message." COOPER: "Who is We?" GARLAND: "Myself and the Air Force, we. In fact, the impetus for the Monkey speaking can be incited by irritation to other animals." COOPER: "Speak plainly, Major." GARLAND: "Betty has a device, that when activated, specifically causes sonic irritation or pain to owls. When she has used this device, and under control conditions and injection with acetylcholine, the monkey speaks." COOPER: "I do not think we are going to solve this conundrum without help from the White Lodge. Nor will we solve it with blind guesses, Major." Garland considers, pondering, looking down. GARLAND: "You seem petulant this evening, Agent Cooper." When he looks up, Cooper is gone and replaced with the mirror image of Garland. GARLANDMIRROR: "The White Lodge."

INT. WHITE LODGE (CGI)

Four white marble vine encrusted thrones in woodland clearing, on each throne sits the Giant, not doppelgangers with white eyes, but four duplicates, quadruplicates. Their arms rest on the arms of thrones, their hands grasping the end of the thrones. EAST GIANT: "One." SOUTH GIANT: "And." WEST GIANT: "The." NORTH GIANT: "Same."

INT. SHERIFF'S STATION - CONFERENCE ROOM & HALL - NIGHT

Cooper enters. On the table, Albert stares at three rolls of Finley's Fine Twine, all in evidence bags. Next to each bag is a stack of 3 donuts each. Seeing this, Cooper snaps his fingers. COOPER: "Lucy." ALBERT: "Ya think? How many people knew about Finley's Fine Twine?" COOPER: "Leo Johnson. Jacques Renault. Sheriff Harry Truman. Lucy Brennan. Perhaps Waldo. Agents Cooper, Rosenfield, Cole-" ALBERT: "Agents, aside. Put on the thing." COOPER: "And Laura..." Cooper looks at Albert blankly. He opens a folder to two new silver foil envelopes, 'FBI protocol 12-13-14.' They put them on their heads, bags seal. ALBERT (VO): "You, me, Sam, and Gordon are the only ones who know about 'Rosie's Red Rope.' An image appears on Albert's video screen of a 3-strand white rope, with a thread of red down each strand. On the new package, the product boasts, 'See frays easier.' COOPER (VO): "The other rope used to bind Laura Palmer. The brand Leland Palmer used. No one on Earth knows this, Albert. Remember, no one." ALBERT(VO): "Got it." Knock on door. ALBERT (VO): "Enter." Hawk enters. HAWK: "Agent Cooper, Agent Rosenfield. Taking the Missus up lake to the cabin. So I'm going to knock off early. Much preparation." COOPER (VO): "Hawk, may your journey be fruitful and your path be unencumbered." HAWK: "Yes, Agent Cooper." COOPER(VO): "How's Harry?" HAWK: "He's home resting. Oh, and Agent Rosenfield." ALBERT(VO): "Yes?" HAWK: "Raven says you would look better in gold. She said you would know what it meant." ALBERT(VO): "Have fun in the woods." Hawk exits. COOPER: "Albert, you're about to dream. Please be careful." ALBERT: "Wait, what!?" FLASHBACK 5 seconds. Hawk exits. COOPER: "Albert, I have to be somewhere. Sparkwood and 21." ALBERT: "Wait, what!?" FLASHBACK 5 seconds. Hawk exits. COOPER (Filtered, Distortion): "It's happening again, Sam, please stand by." ALBERT: "Wait, what!?" FLASHBACK 5 seconds. Hawk exits. COOPER: "Albert, good night, sleep soundly and awake refreshed as every one of these majestic douglas firs!" Hawk enters. HAWK: "You wanted to see me, Agent Cooper?" ALBERT: "Wait, what!?"

S3:E14: ACT THREE

EXT. SPARKWOOD AVENUE - NIGHT

James and Donna speed by on hog, passing an old street sign near dirt road. Sign reads 'Sparkwood' and 'Old Mill Road.' As we pan across street, we see the dark gable of the Locked Gable convenience store, the only light: a red neon sign, flickering, 'closed.' Flick. Flickity flick flick. Flick.

EXT. WOODS AND SPARKWOOD & 21 - NIGHT

A new intersection sign, a freshly painted Sparkwood & 21 sturdy metal sign, shows small captions 'Keep Twin Peaks Clean' under Sparkwood Avenue and under Route 21. Seven hanging stop lights. Mist in chaotic periods of clarity chased by wafting fog and foglets. The middle stoplight turns from yellow to red. Well hidden in the nearby woods, we see Hawk dressed in camouflage with electronic binoculars, far back from the stop-light-only lit intersection . He lifts the binoculars. POV HAWK. Through enhanced IR zooming, Hawk watches Donna and James arrive, dismount, Donna immediately going to one of James saddlebags. James stands by bike. Doctor Jacoby exits his dayglow green 1994 Dodge Charger, with flamethrower 'flames' made of tiny to large gear-like Hawaiian flowers of every conceivable phosphorescent hue, size, and brightness. Jacoby saunters up slowly, smiling big. END HAWK POV. DOC JACOBY: "James Hurley, Donna Hurley-to-be, congratulations." They beam. DOC JACOBY: "What wondrous times as these, oh, but what strange times as these?" Doctor Jacoby breathes in deep, smiles, dons his red-blue sunglasses, removes his name tag and pockets it. JACOBY: "This is where you both saw Laura. If you are planning to trick me again with one of the Flying Eagle Laura-twins-" James looks around. JAMES: "Nothing like that, Jacoby." JACOBY: "So let's cut the bullsh*t, you know what I want, and then you'll get what you want." JAMES: "Okay." JACOBY: "Donna?" DONNA: "Okay." JACOBY: "Maika'i! You will both answer honestly, like you are in a deep sleep. This is a comforting space. Tto discover the source of your pain, Donna, you must rise like a cloud above it. Through it. Beyond it." DONNA: "She's here." JACOBY: "Do you see her?" James looks around. DONNA: "I can feel her in my arm now." Donna winces. JACOBY: "Ask her, ask Laura what she wants, Donna." POV SIXTH PERSON. This person watches both in far distance, Hawk, and at near distance, Cooper. Both face Jacoby et al. Cooper's clear plastic rain slicker is speckled in condensation. POV COOPER. We see Hawk adjust his binoculars. POV HAWK. We see Hawk zoom to Donna as she brings her hands in the Laura 'vase' pose. END POVS. Donna puts her lower hand under her elbow, keeping it in replica pose to Laura's. JACOBY: "Are you tricking me, Donna?" James grabs Donna. She blinks. JAMES: (to Jacoby) "Enough of this! Tell us about Heidi!" Jacoby put's his name tag back on. DOC JACOBY: "What's to tell, she's in a coma, even as we speak." Donna lowers her pose. DONNA: "Okay, so answer this, since when do 3 people go into a coma at the same time?" DOC JACOBY: "Horne's was mere trauma-induced temporary concussive unconsciousness, I think. Nadine had numerous contusions, she probably hit her head, though no cranial contusions...it just happened to coincide. She did have brain swelling. Who knows with Nadine, eh? Also delusional. And as for the Widow Vogel, burst blood vessel, end of story." James points accusingly. JAMES: "Now who's bullsh*tting here!?" DONNA: "Doctor Jacoby, if we are going to help each other, you have to tell us more." DOC JACOBY: "There is one other thing, then. But you are going to tell me one more thing if I tell you, Miss Donna Hayward." DONNA: "We're friends." Jacoby smiles. All stop lights flash red all directions. DOC JACOBY: "Comas are caused by different events: toxins, trauma, seizures, stroke, and in each case, we have telltale indications in heart activity: heart attack, infarction, arrhythmia, palpitations, the gamut. But our three friends who went skipping off to la-la land, en masse, all had a similar mild heart rate, matching none of what should happen during any of their cerebral events." Donna looks horrified. JAMES: "What's that mean, Doctor?" Jacoby puts his arm around James. Donna looks at a reflected-red-blinking drifting puff. DOC JACOBY: "What it means, James, is that something is linked in these events, and I think the FBI knows too." JAMES: "No way, it just happened." JACOBY: "Something happened that day, didn't it Donna? Your arm hurt. You were at that table with Judy. What does your arm mean, Donna?" DONNA: "...creamed corn..." A gust of wind. The three bundle against the night air. DONNA: "...garmonbozia..." JAMES: "What?" JACOBY: "I told you, I don't know why Heidi yelled that." DONNA: "...pain and suffering.." JAMES: "What's garzonzozia?" Donna doesn't answer, but stares up and into trees. JAMES: "Is she hypnotized, Doctor?" JACOBY: "No. Is she channeling, James?" James looks to Donna's gaze. Only the undulating douglas firs, spattering condensed fog droplets. POV HAWK. The binoculars look into the trees. POV UNKNOWN WATCHING HAWK. A person watches Hawk in the distance, from behind, and James, Donna, Jacoby and their vehicles in far background. Jacobi and Donna and James and Hawk at Sparkwood and 21. Repeat scene as POV UNKNOWN. From in the woods, we see a digital camera view, but moving as the eye moves. It zooms past Hawk, to Donna and James and Jacoby. Then their vehicles and license plates in far distance. DOWN ROAD at Sparkwood & 22's nearby train tracks, a locomotive begins passing. END POVS. JACOBY: "Good. Now cut the sh*t, Hayward, why the charade?" DONNA: "We want to know about Heidi." JACOBY: "Where did you hear that word: garmonbozia?" DONNA: "Creamed corn." JACOBY: "Is it a recipe? This pain, this vegetable, this guilt about Laura. Is Laura hurting you because you've again taken her true love as your lover? Or does it come to you because both of you harbor some terrible secret about Laura? 25 years you've kept that secret, even when you two were apart." JAMES: "We don't have any Laura secrets." JACOBY: "Think. Secrets are always the source of pain. Perhaps that is what Laura is trying to teach you." DONNA (feigning Laura): "Bobby killed a guy. You want to see?" James shocked speechless. JACOBY: "Yes, Donna, stay where you are, is this you and James' terrible secret?" Donna nods. James agape, shaking his head. We see inside James' hog's saddle bag: A small picnic basket, a large thermos. JACOBY: "What happened back then, Donna, twenty-five years ago?" Donna is silent, but wanders to saddlebag thermos of coffee, drinks as Jacoby has looked up to the douglas fir undulations and waves of mist and darkness and flashing red stop lights to: POV JACOBY. Donna and James on edges of shot as Jacoby sees a form of Laura as the barest semblance of her face appears where rolling fir needles overlap, forming a lattice of a cross-needled cross-stitch almost fabric-like green face of red-flash-lit 'Laurawoods.' His concentration is broken and Laurawoods is no more. END POV. JAMES: "What's he staring at? Do you see Laura, Donna?" DONNA: "No." JAMES: "We don't see her, Doctor Jacoby." Jacoby: "I did. It was her, but not her, in the tapestry of the trees." Train finishes passing. All stop lights at Sparkwood & 21 revert from flashing red to normal operations. Elsewhere in woods, Cooper walks up to a surprised Cappy. COOPER: "Your covert skills need work, Deputy." CAPPY: "Yes, sir. Only trying to help James." Cappy gives Bookhouse Boys sign. Cooper gives Bookhouse Boys sign. COOPER: "A mark of any good law enforcement officer is to never give aid and comfort to any person or action deemed participating in wrongdoing." CAPPY: "Yes, sir. That'll never be a problem for me. ... Where is Chief Hawk?" COOPER: "I'm afraid he has faded into the woods." Helicopter chopping sound in background.

INT. SHERIFF'S STATION - CONFERENCE ROOM - NIGHT (CGI)

Placide Renault sits shackled to her wheelchair. The opposing table has arrayed: Sam, Albert, Diane, Gordon's smiling face on lap top, Lil, Raven, Andy, Lucy. HARRY: "Just what are you offering, Maman Renault?" PLACIDE: "I'm dead before you convict me, I'll turn on 'em all, you see. Except my Juliette. I know she turned on me, but I won't turn on her." ALBERT: "Who is 'em all?'" PLACIDE: "I got me enough dirt on 7 Hornes, I got worse on the lone Martell." ALBERT: "Specifics, or its back to 'dead before.'" GORDON (VO): "Hold on, Albert. Hello, Maman Renault! A pleasure. My name is Chief Gordon Cole." PLACIDE: "I feel like I've seen you long ago, but sometimes my memory plays tricks with me." GORDON (VO): "I seem to have deja vu in parallels of pies, but sometimes my perpendiculars get all whip creamed." PLACIDE: "The Double R." GORDON: "The Double R!" PLACIDE: "I got dirt on those Hurleys, too. But that's a secret. Just like them Palmers, hmm? Like them Haywards, they all mixed up together! I'll offer you a piece of the pie."

EXT. TWIN PEAKS - HELICOPTER CAMERA - NIGHT

Flying over the Great Northern and waterfall, the loud thwapping of the helicopter annihilates the clinging mist in vortices of swirling dust devils.

INT. GREAT NORTHERN - MAIN ENTRANCE GRAND FOYER - MOMENTS LATER - NIGHT

Caption: 'Midnight, March 9.' Helicopter sound fades in background. Audrey enters smiling, going to front desk. Julie smiles awkwardly. AUDREY: "Has Agent Cooper returned?" JULIE: "No, Miss Horne." AUDREY: "You know what to do." Julie frowns, looks down, nods. AUDREY: "Listen, Julie, I could just as easily watch the cameras. But this way, nobobby, I mean nobody is the wiser, no one gets hurt, everyone's happy. Just order the sandwich." JULIE: "Yes Miss Horne." Strobe flash - LATER. SAME ANGLE. Audrey gone, desk now with new vase of flowers. Cooper enters, goes to counter. Julie smiles, glances to digital clock on wall (1:30) turns to keycard and room mail boxes. She withdraws several envelopes and memory stick from box 315. JULIE: "Your messages." She hands the items to Cooper. COOPER: "Good evening, Julie! And my! The douglas firs are fragrant! Do you think the fact they are soaked in this fog makes them do that!?" Julie is all kinds of nervous. JULIE: "Yes, perhaps, excuse me." Julie picks up house phone, dials. JULIE: "Room service, elite, please. ... Room Service? This is the Head Concierge, order for Miss Horne. This is your 1:30 reminder..." Cooper notes time on watch, clock, and Julie's computer, showing '1:30 ELITE. Miss Audrey Horne. Roast Beef Sandwich, dry. Pickle ribbon on side. Champaign martini, wet, kalamata.' JULIE: "Roast Beef Sandwich, dry. Pickle ribbon side. Champaign martini, neat, kalamata." Cooper smiles and slowly strolls to elevator, in the corner of his eye, Julie daubing her perspiration. Cooper arrives at elevator the instant a rushing Bellhop screeches to halt at same elevator, precariously balancing a tray, and rushing a champaign cart with bucket ice and bottle. Perspired, he smiles at Cooper. On his silver platter: Sandwich under glass, pickle in sandwich. Bowl of cocktail-skewered brown olives. A slice of cherry pie. Cooper and Bellhop enter INT. ELEVATOR. Cooper presses 3. Bellhop presses P. Cooper is inspecting the tray and the Bellhop, who continues to perspire. Elevator floor indicator moves G to 2. Bellhop swallows. 2 to 3. Bellhop breathes. Door opens. Cooper stands. Door closes. Bellhop casts his eyes downward. 3 to 4. Bellhop prepares to exit. 4 to P. The elevator opens to INT. PENTHOUSE - SECURITY. The sweaty bellhop is waved to elevator-like doors that open to lavish penthouse overlooking the fog choked environs below the Great Northern. Cooper looks at two Security guards. COOPER: "You gentlemen have licenses to carry concealed weapons?" The two thuggish men look to each other, open their vests to reveal their holstered guns and inner vests showing 'Permit' and gold stamped license. Cooper thumbs up. COOPER: "Aces, gentlemen." They close their jackets and offer a hand of entrance to the suite. Cooper enters, seeing bellhop finish, a crisp $100 bill being handed to him by Audrey's hand, only her hand and arm visible from around corner. As Cooper approaches, the bellhop gives a forced smile as he passes Cooper. Cooper rounds corner to see Audrey in a dazzling red and black evening gown bejewelled in sparkling garnets. AUDREY: "Do you like it, Agent Cooper?" Audrey brushes a hand down the shoulder strap of her ensemble, stopping at her green rose corsage. COOPER: "The gown is lovely, Miss Horne." Audrey stands, displaying, twinkling, and moves to the champaign bucket and removes the bottle. COOPER: "This is not a social visit, Miss Horne." AUDREY: "I wouldn't dream of it, Agent Cooper." Pop! Audrey kisses the foam pouring from the bottle. Audrey pours the champaign in two glasses. She brushes an olive in one, and eats the dripping olive. She offers Cooper the other glass. He stands. COOPER: "Why am I here, Miss Horne?" Audrey hides a smirk. AUDREY: "I had a dream, Agent Cooper." COOPER: "You know I know when you are lying, Miss Horne." AUDREY: "Try me." COOPER: "Tell me your dream, Audrey. Do not embellish any portion of it." INSERT AUDREY'S DESCRIPTION of INT. SHERIFF'S STATION - VEHICLE GARAGE - NIGHT (CGI). AUDREY (VO): "Squeezed in between the cruisers, we are all seated at a single banquet table, like when you interviewed half the town. Agent Cooper, you are standing before our table where we are all seated around that freaky myna bird, in its cage where it belongs. To my left are Bobby, His Dad, Margaret, her Log in its own chair, Sarah, Donna, Your Boss, Andy, Lucy, Annie, and Judy to my right. You say, 'This is not an exercise of the FBI.' Then crazy Annabelle Blackburn says that thing she says all the time up at Johnny's Home, that 'Light, walk with me!'" Single strobe flash to:

INT. DOUGLAS FIR ROOM (CGI)

The room of carved wooden furniture seems to tremble, then lurch. It catches Margaret, Josie, Harry, Pete, and the Lantern Man off guard, making them grab onto whatever is near them. The Lantern Man holds Margaret. Harry holds Josie. HARRY: "What's happening, Josie?" JOSIE: "Oh, Harry, this is goodbye." PANNING back from room, to it's very edge, we pass through the translucent walls of the Douglas Fir Room to See that it is but one slice of branches of the Giant, whose fingers grow into snakelike branches of ever skyward douglas firs re-branching. Budding, flowering, fruiting into berries.

Odd berries.

INT. GREY LODGE - BLACK & WHITE (CGI)

Lighting strange. Four Black Lodge Chairs, before curtains stretching to the sky, in far distance, circular marble walls, vine entangled. Centenarians Cooper, Waiter, Placide, Audrey sit in circle. The three lower their points. Audrey smiles, bites her lip. Audrey's 'real' head seems to shrink back from the 'makeup shell' of Centenarian Audrey, growing younger, slightly smaller, and more distant, as we watch through AUDREYSHELL'S eyeholes, the ever younger Audrey grows farther and younger away until barely a dot, the embryonic Audrey flashes into a green ember of light, in orbits around the inner skull of Centenarian Audreyshell. Centenarian Tremond enters. She sits on Audreyshell and crushes it. Crushed shell fades away. TREMOND: (backwards speak): "I specifically requested no creamed corn!" Creamed corn begins to leak out of the now bloody pustulating and popping forehead of Tremond. TREMOND (backwards speak): "My grandson is pure magic!" Cooper, Placide, and the Waiter lift their points to Tremond. POINTERS: "The Once Dead Woman."